Hannah Lees’ work investigates ideas of cycles, constancy and mortality, the sense that things come to an end, and the potential for new beginnings. This constancy, be it in religion, science, history or in organic matter, is visible in her practice through her attempts to make sense of and recognise traces of life. Through appreciating this, her work is focused towards an understanding of the essential nature of the materials she uses as well as allowing space for shifts in context in order to disrupt interpretation and allow for new meaning. Her practice encompasses painting, drawing, sculpture, installation, textiles, ceramics, internet art, performance, writing, sound and video.
Hannah Lees (b. 1983) studied at the University of Creative Arts, Canterbury (2006), and obtained a postgraduate diploma in Fine Art from the Chelsea College of Art, London (2011). Recent exhibitions with her works were held at: Whitstable Biennale, Kent (2018); Workbench, Milan (2016); The Sunday Painter, London (2015). In 2016 she was commissioned to create new work for the Clore Learning Studio by the Turner Contemporary and the British Museum.
Platform Foundation Asks
Who is your artistic hero? Too many to mention but I have always loved Marisa & Mario Merz (I know that’s two artists and a couple so I’m cheating).
Which work of art you wished you owned? Gary Hume’s “Snowman” sculpture, totally impractical and slightly dumb but so endearing.
What is the most indispensable item in your studio? Laptop and mobile!
Describe your studio in three words: Domestic, messy, smelly.
Do you collect anything? Yes, I have an uncontrollable urge to keep everything from olive stones and date seeds to shells, dried leaves, stones...
What kind of music do you listen to while you work? Radio 4 and Radio 3. My day is dictated by ‘World at One’ at 1 pm and ‘PM’ at 5 pm.